Tuesday, December 21, 2010

A Few Recent Items

The middle painting is 14x18 inches
The other two are 9x13 inches

Varnishing an Oil Painting

Some Background Knowledge and Buyer’s Advice

I was a little confused about the types of varnishes out there and didn’t know which ones were bad to use. So I asked a friend of mine. I learned a lot more than I needed to know, but still here is what I was told:

Varnishes, made from resins, have been around for thousands of years. Until modern chemistry, resins came from plant and animal extracts. They often have pleasant smells and were used in religious ceremonies in days of yore. However many craftsmen started using resins because when they are dissolved in solvents and when applied to certain surfaces they can have a protective quality about them once the solvent has evaporated away. After the solvent has evaporated, there remains a layer of protective resin-like layer. However when used on oil paintings, this varnish will last only a limited amount of years before it yellows, cracks or even becomes foggy.

Experts say that varnishes need to be changed (that is removed and re-applied without disturbing the paint beneath) every 40-60 years. If left on the painting these varnishes can damage valuable art work. In fact, I usually do not varnish my paintings unless I want to achieve a specific sheen or antique look.
Damar and mastic resins are still used popularly today. They are derived from plants but even though they are popular they behave quite badly over time. Stay away from water-based “varnishes” if you are painting in oils of course. Although they are fine for some arts and crafts painted with water-based paints and acrylics, you cannot use them on oil paintings. Traditionally these water-based varnishes are used not only to protect acrylic paintings, but also used to give them a shine that is similar to oils.

With oil paintings, it is best to use an acrylic-resin varnish (a solvent based varnish). So you’ll have to read carefully when buying varnish. Instead of dissolving the acrylic-based resins in water, these varnishes use solvents to dissolve the resin. Many of these varnishes have been examined by
accelerated age tests and also with tests for light and energy exposure. Knowledge is power, so buyers beware. If you’re really investing money and time in an important piece of artwork, you might want to re-think varnishing completely. If you decide to go ahead and varnish make sure you stick to solvent based (acrylic-resin) varnishes. Buyers of some more high-end art with varnishes will need to know that their art will need maintenance in years to come.

Tuesday, December 14, 2010

Turning Turpentine Into Wine

How One Artist Survived this Economy by Taking a Risk and Using His Talent

A good friend of mine (we’ll just call him Calem for now) and art lover from Phoenix, AZ is a full-time, self-employed artist. He sells his art in various galleries around Phoenix and competes regularly in local and regional competitions. However these days he tells me that people are not buying art as much as he would like and he has taken his art career in a new and exciting direction in order to maintain his lifestyle. Not only does a self-employed artist need to be darn good at painting, but he also needs to be able to weather the ups and downs of the economy. Also as Calem has shown us, the long-term artist must be able to step out of the studio and use his knowledge of painting, art, colors and design in different ways.

When I first met Calem, it was back in 2001 when I was visiting some friends of mine in Phoenix. We were out shopping; I spotted a gallery and made a dash in that direction. Inside I found a collection of his work on display. I asked the gallery attendant about the artist and she said that I should meet him myself and politely pointed in the direction of this gentleman who was hunched over a desk in the corner. We became quick friends and have kept in touch ever since. The sad thing is, Calem has fallen on some hard times since 2001 but despite his hesitation to spend less time in the Gallery, he has come out on top by taking his art skills in another direction.

Now I can’t wait to talk to Calem on the weekends to hear about his recent work in art conservation and restoration. Galleries handling art and museums need paintings to be cleaned and restored. Some ceramics, glass objects, and paper objects need special attention as well. Frames also need retouching now and then. So this is what Calem does for various galleries and museums. First he approached a local museum and asked if he could shadow their art restorer. This turned into an apprenticeship and eventually a full-time job. Each time we talk he tells me about some interesting place or gallery he has visited and another exciting show that I “must see”. He’s recently been involved with projects dealing with artists such as O’Keefe and Carmen L. Garza.

This is an inspiring and important story to share. Calem took lemons and made lemonade. Artists need not think that they can use their talents only by making and selling art. Other ideas for artists to make extra income are: photographing art, framing, or designing for furniture and interior galleries. I know someone who took one of her paintings into a furniture dealer in Columbia just to see if they would possibly offer to hang one or two of them for sale. These people ended-up hiring her as a furniture salesman! So the underlying theme here is that artists are naturally creative and can use their gifts to get ahead if they are willing to step outside the box. Moreover, this is a real lesson for everyone, not just artists.

Friday, December 10, 2010

Cold weather painting

Well hello again, it's been since August that I last blogged about art and I'm starting my winter vacation. I'm also preparing to do a little painting. So I went out to my storage room this morning and pulled out my painting box. I almost started to prepare my pallet but my paint tubes were like bricks because of the cold. So what does one do when one's paints are harder than bricks and cold?

Just move your supplies into a warm room, wait a couple hours and the paints will feel as soft as they were when you bought them. Watch out trying to speed-up the warming process. Remember most of the thinners and oil-based mediums that we use with oil paints are flammable. So no need to place them up against the heater or fireplace.

If you're working with a wooden or plastic pallet that's nice and cold, it's the perfect time to chisel-off some of the layers of old paint. Just take a stiff wire brush or even a screw driver and pluck those little mounds of paint right off.
Looking forward to a little winter painting!

Above: Painting with Rob Shaw from Havens Framemakers a few months back.

Monday, August 9, 2010

Color Through You: Plein Air Painting

Color Through You: Two Part Plein Air Painting
By Andrew M. Corley 8/9/2010
Painting outside can be a challenging and aggravating experience as an artist who is accustomed to painting inside. August heat and humidity as well as the insects can be enough to drive anyone indoors, much less the artist who wants to focus on his painting. Despite the aggravations, plein air painting can bring a fresh change to any landscape artist’s style. Often I don’t have the time to do plein air painting, but when I do it has become a treat. Make sure to have a good canvas already primed with an acrylic undercoat, a way to carry paints and an easel. I use a Jullian field easel. Take your paper towels (I pre-rip mine into quarters) and a plastic grocery bag for easy collection of discarded wipes.
In South Carolina, the summer sun creates a lot of strong heat and glare. So it’s important to wear a large, wide-brimmed hat. Normally outside I wear a baseball cap and shades, but when painting I only use my old, green wide-brimmed hat – no shades when painting. Shades mess with my ability to see colors. Although my hat is ugly and silly looking, it provides shade completely around my head and covers my neck in preparation for being outside for long periods of time. My point is, be prepared. Even though I seldom finish a painting outside, I am outside long enough to hurt my eyes and burn any exposed skin.
Step one: Once I’m set up outside, I lightly sketch my scene with a brush. I always bring a canvas that is already primed with an underpainting of acrylic paint – usually a reddish or orange color that will compliment my greenish, bluish landscapes. I usually sketch-in the rough shapes with a brush and then I approach the painting top to bottom with my pallet knife. I usually shift the skyline up when painting outside because I’m more interested in the landscape not the sky. But it’s up to the artist. Once I have my basic landscape mapped on the canvas I finish my sky and block-in colors below. Once I have my sky completed, my landscape is mapped, and the colors blocked-in and mixed the way I want them for later use, I pack-up and head back inside. This step seldom take more than 30-40 minutes.
Step two: Back in the comfort of your indoor studio, you’ll notice that the colors you’ve mixed are pretty strong (caused from the way you see outside in bright light). But stick with bright colors. It never hurts to exaggerate color. Your painting won’t be as you exactly saw it in nature, but it will be more personal and filtered through your own eyes. This is a nice way of bringing personality to your painting. No matter with whom I paint, even if we are painting the same scene we will invariably have different shades of color. Color is very personal. Keep it that way. Finish your scene inside, either with pallet knife or with brushes – I use both. Stick to the mental image in your mind since you don’t have a photograph to go by. You’ll love the outcome and it will be special. Your colors will have an extra pop and your scene will take on jewel-like quality as you finish the details. Let your colors remain strong, overworking them too much simply mutes and clouds the hues you’ve captured through your mental eye. Step two takes as long as you want it to take depending on your painting medium and technique.

Slather down with sun block and insect repellant and head out with the paints. Have fun with your summer plein air session.

PS- Don’t take food. It draws more insects.

Here are a few of my favorite colors that will help your plein air paintings pop:
Cadmium orange
Cadmium reds, Naptha red
Anthrquinine blue and Cobalt blue
Pthalo green and Hookers green
Lots of white!
For shadows – try different shades of purple instead of muddy-brownish colors.

Saturday, July 3, 2010

Pawley's Island & sea oats: a summer daydream

"Pawley's Island"
18x14" Oil $100.00 (unframed)
Telephone: 803-336-8477
Will be on display/sale soon at Paperwhites on Courthouse Square in Edgefield, SC.

Check out some of my other, recent paintings there as well.

This painting of sea oats and palmetto trees reflects my recent thoughts about the beach and the ocean. Inspired by a view of Pawley's Isand, this painting portrays the view coming up from the ocean into the dunes and the natural vegetation found along the dunes. During June I have been commuting between Columbia and Edgefield almost daily with teaching and a graduate class which I'm taking. So sadly, there has been no time to drive down to the coast. I guess the next best thing is a mental trip via painting.

I lived in Miami for eight years near the water and beaches. My last place of residence there was on Brickell Avenue. I was right on the edge of Biscayne Bay. So these recent years when I am land-locked, my heart calls me back to the ocean. The incredible vegetation and unique ecosystems along the border between land and ocean fascinate me. South Carolina offers some incredible coastal scene as well. I hear Georgia has some wonderful barrier islands as well. Be sure to email me any great shots of South Carolina and Georgia coastal scenes: corleymark1973@aol.com.
More to come.

Tuesday, May 25, 2010

Local Artist Julia Zimmerman

Let me introduce Julia Zimmerman. I first met Julia through one of Rob Shaw's pallet knife painting classes here in Columbia. Julia is a school teacher and part-time artist. For information about this painting or other works by Julia, email her at jzusc07@aol.com, she's also on Facebook.

National Rivers Month Art Show at 300 Senate Street

National Rivers Month Show

The opening reception for our National Rivers Month show will be Wednesday June 2nd 5:30-7:30pm at 300 Senate Street in Columbia. 300 Senate is the address and the name of the restuarant lacated at this address. It is literally the last building on the lower end of Senate Street literally on the banks of the river in The Vista. Stop by as you leave work for a cocktail (cash bar) and a view of all the wonderful art on display depicting rivers and chat with South Carolina artists. For more information contact me via email: corleymark1973@aol.com

Above: "The Vista" by Andrew Corley 20x24 inches Oil

Saturday, May 22, 2010

Framing: What Works & Doesn't

Framing Your Painting

You know, the frame for a work of art is the finishing touch and the last addition that can complement and even improve your work. However poor choices in framing can absolutely ruin a piece of art or diminish the chances for selling. Although framing a work of art is no complicated task, it is a decision that deserves some consideration. Below I’ve organized a few good pieces of framing advice from different sources:

Some paintings will need no frame. Many artists in oils and acrylics who work on wrap- around canvases literally carry their paintings around the edge of the canvas and choose to not frame. Be careful though because when the canvas is not wrapped around to the back of the piece there may be staples showing around the edges. Most of the store bought canvases (as well as panels or paper) will need a frame. Having staples or ratty edges on a canvas being displayed is a huge NO-NO. If you are lucky enough to stretch your own canvases, this is something you’ll want to consider.
What style of frame to choose: The basic rule of thumb is that the painting itself directs the selection of its frame. Period paintings or paintings with classical subject matter are best displayed in attractive gold frames, or a handsome dark wood such as walnut or oak. There are some really elegant hand-carved frames out there but beware they can be pricey. More modern, light-hearted or even abstract paintings deserve simpler frames. Sometimes a thin metallic frame with a color that works well with the painting (not clashing or distracting) will be a winner. Metallic colors also work well. Some galleries, especially in juried shows will require a very simple/neutral frame intended not to detract from the work of art or compete for attention.

And don’t get caught up on framing a painting to match a room. (Although some rooms decorated around the themes and colors of a finished painting can turn out really impressive) Again the key is that the frame should work well with the painting. And for those in doubt, a contemporary painting hanging in a traditional room doesn’t necessarily need a traditional frame - and vice versa. Generally, larger paintings will need larger frames (with wider molding).

Texture is another issue: Choose a finish that doesn’t compete with the art in color or texture. (For example a painting with many shades of blue would not look good in a frame with orange tones .) Fussy frames with busy finishes won’t work well with a painting containing busy images.

Some frame shops will have walls and walls of frame samples on display. This sometimes makes the process of choosing your frame more difficult. In these cases, I try choose three frames that seem to come close to what I’m looking for. Then I make my decision between those three. When in doubt, ask a framing specialist or someone with experience in art.

Another Tip- Beware of frames with linen liners (in-lay). No matter how often you dust, the linen portion of the frame will collect debris and become yellowed or discolored with time. I recently had to retire an old frame with a linen in-set and hated to see it go. Money down the drain! Not to mention I have to go pay for it to be re-framed.

Monday, May 10, 2010

Watercolorist Rachel Parker

Everyone, it is a pleasure to call your attention to another local artist who recently caught my eye. Rachel Parker is a self taught artist who works primarily in watercolors. As a child, she was raised going to art lessons and watching her mother paint. She has been drawing since she was old enough to hold a pencil, and began painting in 2000.

Rachel works watercolor because she loves the sense of light this medium conveys. In all her paintings, she tries to make light the central theme. “Dramatic lighting can make a potato sack beautiful. Light is a life-giving force, and this is true in a painting as well – it breathes vitality and a sense of awe into the every day,” says Rachel.

Rachel's favorite subjects include horses, dogs, people, cats, wildlife and landscape. Her favorite project is an online photo contest she hosts on Facebook. Members of her group submit photos, and once a month they are allowed to vote on the best submissions. The winner gets their photo painted and a free print of the original. "This allows me to interact with my patrons in a more intimate way", says Rachel. "My patrons become part of my process in a very real way, and that adds so much to my art and my own enjoyment of painting". Prints of Rachel’s work and links to her Facebook group are available on www.rachelsstudio.com.

A Couple May Creations

Just got this one back from the frame shop. Wanted to share!
"Ashepoo River" Framed/Oil

This one is still wet and I may add some more to it. Not sure.
"King Street Charleston" Unframed/Oil

Sunday, April 25, 2010

The missing link


How many times have I finished a painting and continued to look at it as if something were missing? My mother is a frequent critic of my art. Although I appreciate her interest in my finished products I trust her more sometimes because she is NOT an artist. As a teenager I used to dismiss her observations and critiques with a simple "Whatever Mom". However I've learned to value her opinions about art, not as an artist but because she is not an artist. Let me put it to you this way.

Every artist has a roommate, husband, wife, child or friend who simply knows nothing about art and still continues to give feedback and opinions about your paintings, right? Take advantage of this. Often the buyers of our paintings are not classically-trained artists, but rather just everyday people who enjoy having a painting that really catches their eye. So when your mom or friend comes walking by and has something critical to say about your painting, don't dismiss them, listen. What they have to say may hold the key to selling your painting. And trust me, selling a painting this year will not be easy. It needs to be a real eye-catcher or priced right.

Here are a few tricks I've learned about "finishing a painting". My art critic's most frequent comment is that, "Your painting lacks something" or "there is no focal point". So instead of arguing, I do some of the following:

- Put the painting away for a day or so and then take it out. The fresh eye will help
- Cut a hole in an index card and look at the painting through the hole from across the room. Often you'll see the painting in a different light.
- Hang the painting sideways or upside down. The change in perspective will tell you when there is something wrong or obviously missing.
- Lastly, try placing your painting behind you somewhere and observing it with a mirror.
- Pretend you're in the market for a piece of art. Line up a few of your pieces against a nice white or neutral wall and "pretend to shop".

Well I hope these tips help you look at your paintings through a different eye. And remember take all the feedback you can get, even if your don't want to hear it.
2010 is going to be a hard year for selling art.

Admittedly, I have not been posting much lately. Since school is winding down for the semester I will be writing more often. Don't forget to send me photos of your art for publishing and sharing on my blog. Also for an idea about an article or submission of an article about art... just email it to me: corleymark1973@aol.com


Saturday, March 27, 2010

Artista Vista @ 300 Senate

Artista Vista which happens to fall on Earth Day 2010; times are from
5 - 8 p.m, Thursday, April 22.

I will be displaying a couple new paintings during the show. For more information about displaying your work contact Rachel Haynie. Her email is art.300Senate@gmail.com The show will focus on Earth Day related themes.

Above is a marsh painting that I plan to show.


Thursday, March 11, 2010

Benefit Art Show @ McKissick (Space is limited.)

"Valencian Women On The Beach" by Joaquin Sorolla y Bastida


Benefit Art Show

McKissick Musesum

September 2010

Theme: “Bridging Cultures in South Carolina” (Paintings should focus on cultural diversity in South Carolina with an emphasis on the Latino community.)

Reason: We want to raise money to benefit a non-for-profit organization (to be named) which helps local Hispanics. One possibility is The Amigos Del Buen Samaritano (free clinic).

How: During Hispanic/Latino Heritage Month the McKissick Museum at USC and several other organizations on campus will host a show.

Want to participate? This event is still in planning but for more information, continue to check this blog. My reason to publish this information so early, is to allow artists to begin the creative process for a painting. Please pass on this information to fellow artists who might want to participate in such a good cause. I will formally circulate this information when all of the planning is complete at USC. So start planning and painting.

There is only space for one painting per artist. Works should be framed or ready for sale/display - with a suggested price on the back. This will take place some time in September.

Website address: www.anartistsadventure.blogspot.com


Andrew M. Corley

Sunday, March 7, 2010

Michael Dwyer

My latest encounter with artists from South Carolina was with Mr. Michael Dwyer. I met Michael through Facebook and Facebook connections at USC of mine. I am happy to share some of his biographical information and art on my blog. Make sure you visit his website: www.michaeldwyerart.com

Michael Dwyer earned his Bachelor of Fine Arts degree in 1985 from Syracuse University and his Master of Fine Arts degree in 1993 from the University of South Carolina. At both schools his area of study was Studio Arts, with a concentration in painting. Dwyer has lived in Syracuse, NY; Providence, RI; and since 1990, Columbia, SC, where he works as Exhibition Designer and Preparator at the Columbia Museum of Art.

His work has been exhibited in Syracuse, Providence, and various cities in South Carolina. Currently his paintings can be seen in "A Phonic Swath: Paintings by Michael Dwyer" at The Etherredge Center for Fine and Performing Art, University of South Carolina Aiken (March 1st - 30th).

Dwyer's Statement:

I come from parents who are both artists. While my mother set aside art production, for the most part, when they began a family, my father has been a painter throughout my life. Many of their friends, colleagues at Syracuse University, were artists, architects, or writers and our home was always a place with big, modern paintings on the walls and jazz on the record player. As a kid, I loved visiting my dad's studio. I liked the spattered dishevelment, the smell of paint, and the paintings that I couldn't fully understand, but instinctively got, in the process of coming to life. I knew at an early age that this was something I wanted to pursue.

My decision to work abstractly is visceral and intuitive. It stems from a belief that in any visual art, there are abstract elements which need to function well for the work to succeed. These qualities are at the core of all visual art and transcend cultural and historical differences.

Saturday, February 27, 2010

A few new items from Andy...

From top to bottom:
"Green Marsh" 12"x16" $100 (all unframed)
"Lagoon" 9"x12" $75.00
"Poppies" 17"x24" $250

Interested in any of these let me know. I have these three plus about 6 other framed ones I'd like to sale and make room for new items. Willing to negotiate a price for you.

Bonnie Goldberg

Today I am pleased that South Carolina artist, Bonnie Goldberg has chosen to share some of her art work with us as well as a little biographical information on her life and experiences in art.

Bonnie is a self taught artist who has studied with many notable painters including Alex Powers, Katherine Chang Liu, Glenn Bradshaw, Ernest Velardi, Don Andrews, and Carole Barnes. She is a member of the ‘about face’ figure painting group at the Columbia Museum of Art where she draws and paints from life on a regular basis. When not at the museum, she can be found at her studio in her home working on both figurative and non-objective drawings and paintings. Bonnie’s work is in private collections in the United States, Canada, and France.

Selected exhibitions of the artist’s work include the annual about face members’ exhibits at the Columbia Museum of Art; the 2008 “body show” in the vista, Columbia, South Carolina; “faces and figures” at City Art Gallery, 2006, Columbia, South Carolina; Mais Oui Gallery, Columbia, South Carolina; the 2002 juried exhibit for the International Society of Experimental Artists; the 2003 and the 1998 statewide traveling shows for the South Carolina Watermedia Society; juried exhibits for Piccolo Spoleto in Charleston, South Carolina; “art in the home” and “color the arts” sponsored by the Cultural Council of Richland and Lexington Counties; Paul D. Sloan Interiors; McKissick Museum, University of South Carolina; and the 2005 “pictures at an exhibition” juried show sponsored by the South Carolina Philharmonic and vista Gallery 80808. She is represented in Columbia by Paul D. Sloan, Interiors.
Her work can also be seen at Nonnah’s in Columbia and at her studio.

Check out her website: www.bonniegoldberg.com

In her own words:

“My figure work is the embodiment of who I am as an artist. I connect to the lines and shapes of the pose, the gesture of the model, and find the essence of the person who is posing. As I work and find the gesture, I try to keep the details to a minimum. I believe it is important to engage the viewer in a work of art and I see it as collaboration between the model, the artist, and the viewer. We, as artists and as lovers of art, understand that art is what teaches us what is important in life and defines those moments that we all have when beauty becomes reality.”

Tuesday, February 23, 2010

Michael Broadway

Let me introduce Michael Broadway. Michael's eye-catching compositions and refreshing colors come from a source "within". Personally, I find his work represents a very appealing and raw type of eroticism. I have enjoyed hearing some of the reactions to Micheal's work since I received his samples via email. Both paintings shown here are 48"x 48" and are acryllic on canvas. Contact Michael for pricing by contacting him mycullb@yahoo.com or by getting in touch with me.

Broadway’s inspiration for his work stems from his surroundings and his daily interactions. In his own words “my art is a reflection of my thoughts and obsessions, sometimes a baring of my own soul”. “I guess you could say…I’m cursed with creativity…it overwhelms me like how food does when you’re starving. Making art to me is an interesting journey. It’s hard to explain or really describe, because it simply happens. There are lots of techniques to learn, lots of processes to figure out, and lots of studies to be made, but in the end, it is a compilation of more than all those things. It comes from inside, and learned skills only help me to give it a voice that is appreciated by others.”

Michael was born in Washington, DC and currently lives in Sumter, South Carolina.
His work and interests are reflected both in his art and in a lifetime career in cosmetology.

Enjoy what Michael has shared with us! We look forward to seeing more of his creations. Everyone, make sure you leave comments regarding Michael's work and go ahead and subscribe to my blog so you won't miss an entry. Interested in purchasing some of Michael Broadway's art? Let us know!

Rob Shaw

Let's see, have I ever mentioned what great work Rob Shaw does? Haha. Rob is certainly a big mentor of mine when it comes to oil painting.

I asked Rob to send me some digital versions of a couple of his recent pieces. In case you don't know by now Rob is the Artist in Residence at Havens Framemakers and Gallery they are located at 1616 Gervais Street Columbia, SC 29201. I recommend that you stop by the gallery and see what Rob Shaw and Jackie Vasquez are up to. If they aren't busy framing, then they're painting. They always have lots of great art hanging every time I go in there.

Rob has a new 5 week art course gearing-up tonight. Meanwhile check out the two beauties he's sent me to share with everyone.

** Rob tell your students to send me their artwork to share online. Just email me a digital photo. I'm on a mission here to spotlight South Carolina Artists and their work. Keep it coming!


Saturday, February 20, 2010

Congaree River

"Congaree River" Oil Painting Andrew M. Corley

This painting recently came down from the walls at Havens Framemakers and Gallery in Columbia... been switching around some of my paintings.

Speaking of Havens Framemakers & Gallery, Rob Shaw is gearing-up for another session of oil classes.

Here are some of the details about his class:

The Tuesday session will meet each Tuesday for five weeks beginning February 23rd, 2010 to March 23rd. The Wednesday session will meet each Wednesday for five weeks beginning February 24th, 2010 to March 24th. Each class runs from 6:30 til 9:30pm.
Rob Shaw is the featured artist at Havens Framemakers and Gallery on Gervais. He has had numerous shows and won numerous awards for his art including the First Citizens Fine Art Exhibition's Best of Show (Profession Division) at the 2008 SC State Fair.

Interested in the class, please contact Rob at: Havens Framemakers, 1616 Gervais Street, Columbia, SC 29201


Oyster Roast

Hey ya'll. If you're in Edgefield this afternoon at the Oyster Roast, stop by Paperwhites at 102 Courthouse Square and mosey down to the art gallery downstairs. There you'll be able to see works from several local artists, myself among them. I believe the art will remain on display through the month of February. So make sure to go check that out before it's taken down. Pam the store's co-proprietor was out at the Oyster Roast when I stopped by. Make sure you say hello to either Pam or Joann and pick-up one of my business cards. They have some really high-quality, hand-made gifts at Paperwhites. Pam's ceramic bowl with sea-creatures is my favorite.

Sunday, January 31, 2010

Stamp in Art Media: February 2nd @ 300 Senate

For local artists, coming up with ways to introduce their work to potential new patrons can be a problem, but one group is licking it – with stamps.

Some of the area’s leading artists have converted a favorite piece of work into real postage stamps, and soon will be sending out evidence of their talent on personal correspondence, from mundane bill payments to Valentines.

Both the United States Post Office and Zazzle.com have interpreted the artists’ images into official, useable postage stamps.

Before these art stamps make their statements by sliding through mail slots, they go on view at 300 Senate. The exhibition, StampInArt, pushes the envelope on fine art. The exhibition will include both the work that inspired the stamp and the resulting stamps.

Some artists are considering incorporating their stamps into unique greeting cards or Valentines.

StampInArt opens Tuesday, February 2 during 300 Senate’s lunch serving period, 11 a.m. to 2 p.m. when artists will put their first envelopes into the mail carrier’s bag, pushing their art “out there” to inspire recipients.

Meet the artists and see the artwork again during an Art and Dinner (off the menu) evening, 6 to 8 p.m.

StampInArt will keep on pushing the envelope on fine art through late May. These artists are participating:

Bonnie Goldberg
Roy Pascal
Andrew Corley
Michel McNinch
Pat Saad
Marcia Murray
Alisha Leeke
Ingrid Carson
Taryn Shekitka-West
Bobo Don Harwell
Allen Marshall
Faye Meetze
Bettye Rivers
Karen Larrabee
Glenda Keyes

To request more information, email: art.300senate@gmail.com.

Saturday, January 30, 2010

2010 Edgefield Choc-around Feb 4th, 4-8 pm

At Paperwhites of Edgefield

102 Courthouse Square, Edgefield, South Carolina
803 637-0600
Open Tuesday - Saturday, 10 - 5
Edgefield’s 3rd Annual
Choc-around is Thurs., Feb. 4 . . .

The popular Choc-around will take place again
in downtown Edgefield from 4 - 8 p.m. . . .
Come to Paperwhites for some chocolate treats,
and visit Paperwhites’ “Art in the Alley”

Meet Tim Worth and his Decoys . . .
Tim Worth, born in Kittery, Maine, raised in Waterford, Connecticut, is a Mechanical Engineering and Materials Science Graduate of the University of Connecticut. He moved to Edgefield County 20 years ago to begin his career at Savannah River Site. He and his wife Beth reside in their restored Edgefield historic home, Halcyon Grove.
Tim began carving decorative and hunting decoys in 1987. For the last 10 years he has concentrated solely on hunting decoys, carved primarily in cedar, sugar pine, cork, and balsa wood. He has made over 300 decoys in the last 20 years and is a member of the South Carolina Artisan Center in Walterboro . . .

and native Edgefield artist, Andrew M. Corley . . .
Working in oils primarily with a pallet knife, Andrew Corley paints a variety of landscapes and cityscapes with themes related to South Carolina. Some of his favorite subjects are low-country marshes, rivers, coastal scenes and some mountains. “For me, art should be both pleasurable to view and fun to create” Say’s Andrew. Having some success in working with watercolors, his favorite medium is oils. As a teenager he studied with local artist such as Mildred Dunevant, Beth R. Welsh and the late Phyllis Brousseau – all of Edgefield. Andrew maintains a small display in Havens Framemakers & Gallery, 1616 Gervais Street in Columbia, where he often participates in painting classes that inspire him and allow him to connect with other artists in South Carolina. Check out his website www.anartistadventure.blogspot.com. When he isn’t painting, Andrew works at The University of South Carolina where he teaches Spanish and Latin-American studies.

and Annie . . .
Annie lives and works in a small town in Georgia. She has
worked hard all her life. One day she thought she might
like to learn to paint . . . and she did. We love her
poetry and her paintings and we know you will too.

Come on in . . .
you just might find it
at Paperwhites!

Tuesday, January 26, 2010

Capital View

"Capital View" will be one of several of my works going on display in Edgefield at Paperwhites (on Courthouse Square) during February.
20 x 24 inches, oil on canvas, $500

Details on this show's dates to follow.

Edgefield Artist and Leader Pamela Moore: Part II

Edgefield is lucky to have the very talented Pamela Moore as a local artist, merchant and leader in several organizations including ERA the local artists' association as well as ECDA, Edgefield's Merchant Association.
Pamela Moore has studied art and art history in Mannheim/Heidelberg,Germany as well as in France and Italy. Before moving to Edgefield, Pamela worked as Master Artist for Habersham Fine Furniture and now she owns Paperwhites along with her partner JoAnn Amos. Their beautiful store is located on Courthouse Square in Edgefield.

It's a pleasure to highlight several of her other recent works, apart from the beautiful wardrobe that I showed in my previous blog entry.
Again, you can contact this Edgefield artist at her website www.artazure.com or catch her in Paperwhites.

Be on the lookout for a show coming up soon in February at Paperwhites here in Edgefield, showcasing Pamela's art as well as a couple pieces of my own. It's exciting to be working with other local artists and Pam has been really gracious in opening up her store and gallery space to me. Here's to a lot of great art events, shows, projects and culture coming to Edgefield !

Sunday, January 17, 2010

ERA: Edgefield Regional Arts

ERA: Edgefield Regional Arts
Edgefield Regional Arts is an organization dedicated to promoting the arts in Edgefield and the local community. Artists from many different disciplines and backgrounds make up its membership. We’re creating a new ERA for artists in Edgefield. Meetings are the first Tuesday of each month. For information on membership, if you wish to offer support or for information on the activities that are planned for 2010 contact the organization’s president and local artist Pamela Moore by mail. The address is:
ERA: Edgefield Regional Arts
204 Augusta Road
Edgefield, SC 29824

Pamela Moore also runs Paperwhites on Courthouse Square in Edgefield. Her website is:
As president of ERA, Pamela has a lot of interesting plans lined-up the arts in Edgefield. You’ll be hearing more about my recent meeting with Pam in the days to come. Stay tuned, and in the meantime stop by her beautiful store and gallery on Courthouse Square in historic Edgefield. Better yet, come with plenty of time because you’ll not want to rush through.

Above: A beautifully hand-painted wardrobe entitled "Italian Courtyard" by Pamela Moore

"Catawba River Scene" Postage Stamps from Zazzle.com

"Catawba River Scene" Postage Stamps from Zazzle.com

Saturday, January 16, 2010

Celebration of Art on MLK Day

Art's Expression of Freedom
January 18, 2010
Lunch served between 11 to 2

Join Columbia artists —
primarily from the art group
About Face — at 300 Senate
for an MLK Day celebration:
Art's Expression of Freedom.
See the vibrant diversity of art
for sale on the walls, enjoy
entertainment, take advantage
of a silent art auction, and
meet your friends.
As every weekday, lunch is served
between 11 a.m. and 2 p.m.
Silent auction begins at 11 a.m.
and closes at 1:15 p.m.

Note: 300 Senate is located at Senate's End, off Huger Street near One Eared Cow
in the complex formerly known as Sterling Garden Center.
For more information go to www.duprecatering.com.

Tuesday, January 12, 2010

Gone crabbin'

This year we have had some record cold weather here in South Carolina. I think I even heard this week that it was about 20 degrees in the Florida Keys. This is uncalled for and unappreciated cold weather without even a dusting of snow. When it’s cold outside I always enjoy looking at landscapes that take me to a warmer place. I heard a friend once say that she was a happy artist if she could be painting green trees and water, and I agree. I find joy in painting green, warm scenes that are native to my state. The painting below takes me out into the marsh from an old low-country plantation. The month would be May or June and I imagine the smells of the marsh and salt of the sea. I’m heading out to the end of the pier to drop a chicken neck down a long line into the water and sip on some sweet iced-tea while waiting on the crabs to nibble.

Gone crabbin' 14x18 Oil

Monday, January 4, 2010

Becoming a GREENER Artist

Green: Not just a color anymore

Everyone who knows me well knows that green no matter what shade, is my favorite color. But “green” has become a catchword for the environmental movement. No matter where and in what capacity it’s used, the word “green” catches my eye.
I read an article in Artist’s magazine about greening up your work environment and I thought some of the ideas were worth sharing. The gist of the article is about finding eco-friendly living and work spaces. In it they give some tips on greening up your studio or work space as well. Some of them seem fairly simple, but you know even if we try to be more aware of the green effort it will make a difference. Below are some of the tips from the article plus a few ideas that I use to be a greener artist:
1. Walk or bike to work or to your studio. (Might be difficult for South Carolinians especially in rural areas) I see more and more folks at USC biking to class.
2. Insulate your workspace. Poorly insulated walls, windows and doors waste tons of energy.
3. Make use of natural light. Add a north facing window, which will provide sufficient light all day for working. And for working at night, make sure to use the energy-efficient fluorescent bulbs – and they can be recycled. When working with paints, you’ll appreciate the natural light. Sometimes indoor/artificial light can fool the artist’s eye.
4. Choosing the right paint for your walls. Ever notice that smell that lasts and lasts when working in a room painted with latex wall paint? Well that’s because latex paint gives-off harmful gases that lower air quality. Make sure to use a low-VOC paint (volatile organic compounds). Had never heard that before. Had you?
5. Avoid vinyl floors – Same thing here! Vinyl also emits gases that can make you sick. Try to use ceramic tile or real linoleum or wood.
6. Make green choices in everything you do... in shopping, in buying paints, in using solvents etc. It may take a little more time to shop green and make green choices but in the long run, it will be worth it.
7. When cleaning brushes with turpentine or other nasty solvents such as paint-thinner, don't just dump it down the drain or dump it outside behind the house. Save all your used, dirty solvents in a metal conatiner with a top (even a used paint can will work). There is a green way to dispose of it by taking it to your local waste disposal facility. Yes, they have a place to take care of it there!